value & virtue conference 2016 learning through imaginative...

Citation:Stott, CR and Warren, S (2016) Learning Through Imaginative Play; A Collaboration of PrimarySchool Pupils and Architecture Students. In: Sixth International Conference: Value and Virtue inPractice-Based Research ‘Virtuous Practices for a Worldwide Conversation’, 05 July 2016 - 06 July2016, York St John University.

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Value&VirtueConference2016 LearningThroughImaginativePlay

LearningThroughImaginativePlay;ACollaborationofPrimarySchoolPupilsandArchitectureStudents

CraigStott&SimonWarrenLeedsBeckettUniversity

Abstract

In 2013 the Leeds School of Architecture’s Project Office [a design and research collaboration of staff andstudents] was approached byMorley Newlands Primary School to design and construct a play area throughwhichtheir550pupilsaged3–11wouldlearnanddevelopskillsthroughimaginativeplay.

An innovative process of social engagement between the school pupils and architecture students evolved,creatingaplayfullearningenvironmentwhichempoweredthepupilsaspatronwhilstsimultaneouslyfacilitatingan academic learning exercise for the students.As Lave&Wenger (1991) assert “Learning is fundamentally asocial process”, hence working collaboratively addresses the stereotypical isolated student in architecturaleducation. In total 52 students participated; gaining real life experience of teamwork, briefwriting, design ofconcept,exposuretorisk,constructiondetailing,and‘on-site’assembly.Thispapersetsoutthetransformationalvirtuesofconsciencestimulatedinthestudentsandtheresultanteffectonthepupilsincludingthecreationofrolemodelsandinstillingaspiration.

This form of Architectural learning uses the ‘Live Project’, see Sara’s definition (2006), to introduce a thirdparticipant in the teacher/student relationship – the client. This move is purposeful, as it “comprises thenegotiation of a brief, timescale, budget and product between an educational organisation and an externalcollaboratorfortheirmutualbenefit.”(Anderson&Priest,2014).

Inelectingtoworkonlywithclientsindesperateneedofarchitecturalconsultancybutwithoutthemeanstopayfor it, Project Office ensures that through its production studentsmake ameaningful contribution to societywhilstundertakingtheirdegree.Inthisinstance,theliveprojectexposedstudentstoadesignmethodologythatputsteamworkingandcollaborationattheheartofthecreativeexperience.

Thevalueofalearningexercisebeinganimaginativelyplayfulventureisdemonstratedinthispaperasitchartsthe Morley Newlands ‘Playscape’ and reflects upon this approach to practice based research through theoutcomesandlearningforschoolpupils,universitystudents,clientteam,andProjectOfficestaff.

Keywords:LiveProjectPedagogy,PracticeRelatedResearch,LearningthroughPlay,Architecture

Introduction

In 2013 the Leeds School of Architecture’s ProjectOfficewasapproachedbyMorleyNewlandsPrimarySchool todesignandconstructaplayarea throughwhichtheir550pupilsaged3–11wouldlearnanddevelopskillsthroughimaginativeplay.

The Playscape became a live project collaborationbetween the school and Leeds Beckett Universitywhere the project was designed and built bystudentsfromtheArt,Architecture&DesignSchool.

Thispaperdiscussesthevalueofalearningexercisebeing an imaginatively playful venture as it chartstheMorleyNewlands ‘Playscape’ and reflectsuponthis approach to practice related research (Candy,2006)throughtheoutcomesandlearningforschoolpupils,university students, client team,andProjectOfficestaff.

ThePlayers

ExistingSchoolPlayground.Image:PO

MorleyNewlandsPrimarySchool,inthesouthLeedswardofMorleySouth,servesasocialhousingestatewhere 77% of adults have no post-16 education(ONS,2011). In2013anew£5.5Mschoolwasbuiltontheschool’splaygroundandoncecompletedthe


oldschoolwasdemolishedtomakewayforthenewplayground.Betweentheadjacentoldandnewsitessat a small piece of land designated as aneducational Playscape. With a budget of just£10,000 fundraised by the ‘Friends of MorleyNewlands’,ProjectOfficewas invitedtodesignandconstructthisPlayscape.

“Project Office (PO) is a design and researchcollaborationofstaffandstudentsbasedwithintheLeeds School of Architecture, Leeds BeckettUniversity. It is an architecture consultancyconcerned with ethical, social and resilientarchitecture and design.Weworkwith like-mindedcommunities, organisations and individuals.”(Warren&Stott,2014)

In electing to only work with clients in desperateneed of architectural consultancy but without themeans to pay for it, PO ensure that through theirproduction, students make a meaningfulcontribution to society whilst undertaking theirdegree.This formofArchitectural learningusesthe‘LiveProject’,definedbyRachelSara(2006)as:

“a type of design project that is distinct from atypical studio project in it’s engagement of realclients or users, in realtime settings. Students aretakenout of the studio setting, and repositioned inthe ‘real-world’. This external involvement tends toresult in students producing something that is ofvalue to the client/user group, which might rangefrom ideas, feasibility reports, or research, to acompleted design scheme, a construction or otherintervention.”

Theliveprojectintroducesathirdparticipantintheteacher/studentrelationship–theclient.Thismoveis purposeful, as it “comprises the negotiation of abrief, timescale, budget and product between aneducational organisation and an externalcollaborator for theirmutual benefit.” (Anderson&Priest, 2014). In this instance, the students wereexposed to a design methodology that puts teamworking and collaboration at the heart of thecreativeexperience.

StrategyforLearning

Liveprojectshave the facility toprovidea rangeoflearning environments, both physical andmethodological in their pursuit of production. Asingle project can encapsulate a range of settings,thus providing students with experience of manysituated learning environments, as Peter Buchanan(2012) states “we have moved from the age ofgeniustoscenius”.

For the Playscape, the standard notion of ‘client’wasexpanded to incorporate theschoolpupilsandtheopportunitiesfortheirlearninginadditiontothearchitecture students. Consequently an innovativeprocess of social engagement between the schoolpupilsandarchitecturestudentsevolved,creatingaplayfullearningenvironmentwhichempoweredthepupilsaspatronwhilstsimultaneouslyfacilitatinganacademiclearningexerciseforthestudents.AsLave&Wenger (1991)assert “Learning is fundamentallya social process”, hence working collaborativelyaddresses the stereotypical isolated student inarchitectural education. In total 52 studentsparticipated; gaining real life experience ofteamwork, brief writing, design of concept,exposuretorisk,constructiondetailing,and‘on-site’assembly. Over 60 pupils were directly engagedthrough workshops run at the school, and all 550witnessed the construction and are now enjoyingplayingonthePlayscape.

Theprojectdevelopedthroughanumberofstages,each of which sought to add an intrinsic value ofplayfulness and enjoyment to the educationalprocess.Thiswasalsotruefortheschoolpupils.

PupilsdrawingtheiridealPlayscape.Image:PO

Pellegrini & Smith (1998) assert “Between 3% and20%ofyoung(ages2–6)children’stimeandenergyis typically spent in play. If young children aretemporarily deprived of play opportunities, forexample being kept in a classroom, they play forlonger and more vigorously afterwards.” Followingmore recent research Smith (2010) suggests “thatplay has developmental benefits, which might beimmediate, long-term, or both. However, the exactroleofplayinlearningisstilldebated.Nevertheless,correlational and experimental evidence suggestimportantbenefitsofplay,evenifsomebenefitscanalsobeobtainedinotherways.”

Given that children invest time and energy inplaying, and that they learn a wide range ofimportantlifeskillswhilstdoingso,thereisclearlya


strong need for play to be manifest within theeducation system. This became PO’s drivingnarrative for the schemewith relation to the end-user school pupil, and determined an approachwhere play was used as the methodologythroughoutthedesignandconstructionprocess.

DesignGuide

The design process began with 6 second yearundergraduate architecture students volunteeringto prepare a Design Guide exploring what thePlayscape could become. The content of thisdocument was generated through two daylongworkshopsintheschool,arrangedandorganisedbythe students, which saw them classroom activitiesinvolvingword association games, creativedrawingand precedent analysis which were specificallyintended to be fun, ultimately replicating the enduseasaplayscape.

Studentsexplainingactivitytopupils.Image:PO

Thedayprovedsignificantonmanylevels;

- ItdemonstratedtoMorleyNewlandsthatPOwereserious about undertaking their request, openingup a collaborative dialogue which would see theprojectthroughtoasuccessfulconclusion.

- The pupils felt empowered by their involvement,teacher Miss Claydon remarked “The childrenwerenotconsultedaboutthenewbuildingsbeingbuilt which has resulted in a lack of identifiedownership, therefore tobeaskedwhat theywantinanewplaygroundisjustamazingastheyfeelitisalreadytheirown.They justcan’twaittouse itnow!”

- The architecture students were inspired by theexperience.Forthefirsttimeintheirarchitecturaleducation they had consulted with a genuineclientonaproject thatwas tobebuilt andwereoverawedbythecreativeenergysuchanoccasiongenerates.MatthewShepherdreflected“Thekidswerebrilliant,soimaginativeandnotrestrictedby

reality in the way adults are, it was inspiring, aswasthefactwecouldinstantlyseehowmuchthisPlayscapemeanttothem.IthinkforthefirsttimeIunderstood how important architecture can beandtheroleitcanplay,evenwithchildren.”

DesignGuideActivity.Image:PO

- The school pupils saw the young adults beforetheminasituationtheycouldaspireto.Withmostpupils coming from households where neitherparent have post 16 qualifications, theopportunity to talk with and ask Universitystudentsquestions generated the realisation thatcontinuededucationwasapossibilityas3ofthe6students were from NS-SEC classes 4, 5, 6 & 7,(ONS, 2010) whilst overall those classesrepresented 39.5% of Leeds Beckett’s 2013/14intake(HESA,2016).

DesignGuideproducedbystudents.Image:PO

Perhapsmostimportantly,PObelievethepupilssawthe architecture students as role models for self-efficacy “the belief in one’s capabilities to organizeand execute the courses of action required toproducegivenattainments”asperAlbertBandura’s


Social Cognitive Theory (1977). As the socialenvironment between the school pupils andarchitecture students evolved, a playful learningenvironment was created which empowered thepupilsaspatronwhilstsimultaneouslyfacilitatinganacademic learning exercise for the students. Theclearly enjoyable process demonstrated to thepupilsaprofessionalfuturewasarealisticgoal.

Whilst Bandura may now be outdated, much newresearch builds upon the concept such as that byDonald E. Gibson who suggests “Role models, asactive,cognitiveconstructionsdevisedbyindividualstoconstructtheirideal,or‘possible’selvesbasedontheir own developing needs and goals” (2004).Assuming this to be the case, PO feels theparticipating pupils will, however minimally, havebeen positively influenced by the experiencehopefully resulting in the desire for continuededucation.

AlumniCompetition

BradleySpencer’sWinningEntry

TheDesignGuide formed the inspirationalbrief foran alumni competition to generate a range ofcreative design solutions. This move was verypurposeful as PO are encamped in both academiaand practice where Live Project Learning is thedidactic tool. This pedagogic approach extends thecontinued professional development of alumni. Asthecompetitionisframedinaneducationalsetting,the learning outcomes of participants are of equalimportance to the quality of entries. In contrast tothe professional sphere in which alumni operatepost graduation, engagementwith the competitionis optional. Participants choose to contribute, thusplacing them back in control of their own learningwheretheyaremotivatedtoengagewiththearena.

ThemutualbenefitofsuchamethodologyresultsinatremendousrangeofopportunitiesbeingcollectedfordiscussionwiththeClient,whilstsimultaneouslyensuring a pedagogical value and intent for every

entrant. Five shortlisted entrants were eachawarded anHonorarium for their efforts,with twowinningentriesfurtherdevelopedbyPO.

Whenaskedaboutthecompetition,winningentrantBradley Spencer wrote “Entering the MorleyNewlands Playscape Competition was the first soloproject I had embarked upon since graduating andhasbeenaninstrumentalpartofmydevelopmentasan aspiring professional, helpingme to understandbothmy design ability and communication skills inmore detail and clarity, beyondwhat I dowith thepractice I work for. I approached the brief boldly,pushing both creative and pragmatic boundaries,knowing that some aspects of the entry were wellbeyond the norms of what would generally beacceptedbythejudgingpanel.Duringfurtherdesigndevelopment following the competition there wasinevitable design change as the two entries wereamalgamatedandtheirconceptsdeveloped,butitisgreattosee,andempoweringtoknow,thatthefinaldesignstillreflectstheinitialcompetitionconceptinanequallyimaginativefinalinstallation.”

“Althoughwinningwasnoteverythingtome itwascertainly a confidence boost, helpingme to furtherunderstandmyownabilitiesandtheirworthbeyondthe office. Furthermore it has provided a greatadditiontomyportfolioandCV.Iwouldrecommendsimilarcompetitionstoanyoneintheearlystagesoftheircareer-theoverallexperiencehasbeenagreatpartofmyongoingdevelopment.”

AshleyBall’sWinningEntry

The chosen two schemes entitled ‘The EverydayTheatre’ byAshley Ball and ‘The SecretGarden’ byBradleySpencerwereusedasthebasisforstudentson work placement with PO to imaginativelycombine,develop,anddetailtheplayscapethroughcontinuedcollaborationwithschoolpupils.Thefinaldesignhasthreediscreteelements;atheatrespace,secret garden and bell tower, all predominantlyconstructed from European oak, pine decking andmarineplywood.


WorkPlacementDevelopment

From June 2014, 11 Brazilian Science withoutBorders (SwB) students undertook a 12weekworkplacement with PO to complete their yearlongexchange at Leeds Beckett University. Part of theirworkload included the experimentation,development and detailed design of the Playscape.To supervise the SwB students, PO employedpostgraduate alumni Paul Hansell. Herein lie twoexamples of a PO key goal, to create opportunitiesforstudentengagementwitharangeofeducationaland formative experiences. The ability to appointstudents in a manner allowing them to expeditetheir career trajectory is a powerful tool at PO’sdisposal.Paulreflectedafterwardsthat“workingforProject Office was fantastic. They truly believed inmetoruntheproject.ManagingtheBrazilianswasagreat learningexperienceformeandreallyboostedmyconfidencetobelieve I couldbeasuccessful jobarchitect.At theendof the3months Ihadtwo joboffers, both of whom stated my Project Officeplacement stood out compared with otherapplicants.”

SwBActivityDay1.Image:PO

Under guidance the SwB students ran 3 classroomactivityplaydayswithdifferentyeargroups,spaceda week apart. The design was furthered in eachsession, resolved back in the office, thenreappraisedagainthefollowingweek.This iterativeprocess truly engaged the school pupils, for theywitnessed the evolution of the Playscape andvieweditasaformofgamefurtherembeddingthesenseofplayfuldesign.Further,theinvolvementofindividuals fromsuchadiverseculturalbackgroundadded significant additional value to the project inthreedistinctways:

- Pupil aspiration. The School demographic is over95% white British. Engaging with Brazilian’sallowedthechildrentoconsiderlifeoutsideofthenarrowboundariesinwhichmanylive.Thetimingalso coincided with the 2014 Brazil World Cup,

meaningtherewasaheightenedawarenessofthecountryandit’slocation.

- Designinfluence.TheSwBstudentsbroughtideasand suggestionsunique toaBrazilianperspectiveof ‘play’. The use of Cobogos, fritted panelsdesigned to create shadow patterns, and aWishing Tree in the final design are clearillustrationsofthis.

- Experience for the SwB students, none of whomhad participated in an educational Live Project,producedworking drawings before, orworked inpractice with clients before. For one student,BeatrizArbex, theundertaking alteredher careerpath, “Working with children on the Playscapeproject mademe reflect about different needs inArchitecture, aswell as adapting the languageofour work - who do we work for? How do theycommunicate? How should we approach themwithour ideas?Thisexperiencewas so importantto me that I felt like I had to continue studyingabout architecture for children in Brazil - whichturnedouttobemygraduationspecialism.”

The power of bringing together two disparategroups working toward a common goal is perhapsmost clearly articulated by another SwB student,ViniciusWolffSuda’s,thoughts,“Ithinkarchitectureisessentiallyasocialeffortandthereforeweshouldalwayslookattheusers’needssothatwecanhavea participatory project. Getting to know theschoolchildren, who were our client, andunderstanding their opinion of what the projectshouldincludewasdefinitelymotivatingandhelpfulbecause we had a better perspective of what theyexpected from us and so we were able to worktowardsthatdirection.Kidsareverystraightforwardand they won't hesitate to ask questions or tochallenge you, so itmakes it evenmore interestingwhenweappliedamethodology likeHenrySanoff’s'WishPoem'.”

Example of Working Drawing Produced by SwBStudents.ImageRights:PO


AVoluntaryWorkforce

From the outset PO realised that a budget of just£10,000meantaselfbuildsolutionwasrequired, ifthedesignwastobeasexcitingandpupilspecificaspossible. The original intention was for the SwBstudents to construct the project with the aide oftwo professional joiners, however due to timedelays site work did not begin until after theirplacement ended. Consequently PO emailed allcurrent students in Leeds Beckett University’s Art,Architecture&Design School asking for Volunteersto help build the Playscape and in so doing gainsome valuable on site experience worthy onmentioning upon a CV. The response was terrific,eventually seeing 35 students from Architecture,Interior Architecture and Product Designparticipatingovertheconstructionperiod.

PlayscapeConstruction.Image:PO

Thepositive learningoutcomeforstudentsworkingtoward design careers in production industries aremulti-faceted, but the constantly recurring threaddiscussed by the participants relates to clarity ofcommunication fromthe ‘designer’ to the ‘builder’.Amy Featherstone, a most dedicated volunteerstated, “MytimeworkingontheMorleyplayscapewas absolutely invaluable to me and myarchitecturalprogression.Thehandsonapproachoftakingasetofworkingdrawingsandtranslatingthe2D image into a 3D environment was a very steeplearningcurveforme.

The practicalities ofworking on a site is somethingthat I had not previously considered, from the verybasicproblemofmovingtheheavymaterialsaroundthe compound to having to solve the unforeseenissues like the slidearrivingand itbeingadifferentsizetowhatwehadpreviouslyallowedforwasveryeducationalandhelpedmethroughouttheacademicyearandonintolifeworkinginpractice.

MyexperienceatMorleygrantedmetheskillstobeable to build a 1:1 element ofmy proposed designformyfinalpresentationofpostgraduateandalsoamuch larger scale installation for the end of year

exhibition whilst leading a team of undergraduatestudentswhohelpedintheconstruction.”


Another student Victoria Tainty concurred,“Architecture as a course can be very different toarchitecture in practice. Working with a real lifeprojectatMorleyNewlandsPlayscapegaveme theopportunity to experience and understand howdesignworksfrompapertoreality.NotonlythisbutI was able to see first hand construction processesand how to overcome any problems from some ofthe more experienced students/seniors. I think theexperience was invaluable to me, and wouldrecommend taking part in live projects to anystudent. This project broadenedmy knowledge andwasgoodfunatthesametime.Theschoolchildrenwere friendly and very inquisitive- helping tomaketheexperienceenjoyable.”

Whilst the construction phase delaywas not ideal,an unintentional benefit came from building thePlayscapeduringtheschoolterminthatpupilssawthe progress and understood the effort going in tocreating something just for them. In the samewayas the iterative design process was an engaginggame,witnessingtheassemblyseemedtoheightenthepupilsexcitementastheyviewedthemakingoftheplayscapeasaplayfulactivity.


AmyFeatherstonenoted,“Throughoutthebuildwesawhowtheprojectcapturedtheimaginationofthechildren attending the school and they all enjoyed


seeing the playgroup evolve day to day. Questionslike 'Is it going to be a castle?' 'Is it going to be aboat?'wereaskedonoccasionandwewereabletoanswer 'Yes'becausethemaindriver for thedesignwas the construction of a vehicle of play, theirimaginationisabletoprovidetherestofthedetails”


A repercussionwas pupils having to re-appropriatetheir formalised view of gender occupational roleswhichatprimaryageplayanincreasinglyimportantpartinachild’sdefinitionofself.Thisisparticularlyvaluable for females as “while boys remainoccupationallygenderstereotyped,girlsmaychoosemore opposite-sex occupations with increasingschool grade” (Helwig, 1998). Given femalesrepresentjust25%ofUKArchitects(ARB,2014)andlessthan1%ofconstructionworkers(UCATT,2014)the opportunity to witness females on site(approximately 50%of theworkforce)was a highlyvaluable opportunity for the pupils. Further, POperceivedliberationamongstthefemalestudentsasthey realised their capabilities rivaled their malecounterparts on site. As PO strive for societal andprofessionalequality,equippingyoungwomenwiththis knowledge and belief is vitally important forfuturegenderparity.

Play

Byway of a case study reflecting on the PlayscapeProject Office designed and built for MorleyNewlands Primary School, this paper uses quotes

fromthoseinvolvedtosetoutthetransformationalvirtuesofconsciencestimulatedinthestudentswhoparticipated, and the resultant effect on the pupilsfromcreatingaplayfullearningenvironmentProjectOffice believe to have taken place, including thecreationofrolemodelsandinstillingaspiration.

PupilsplayingoncompletedPlayscape.Image:PO

In total 52 students participated; gaining real lifeexperience of brief writing, concept design,construction detailing, and ‘on-site’ assembly. Theliveprojectexposedstudentstoamethodologythatput teamworkingandcollaborationat theheartofthecreativeexperience.

The scheme is perhaps best summarised by JackHartley; “Working on the Morley NewlandsPlayscapeprojectgavemegreat insight intohowarealproject isrunandhowitdiffersfromuniversitystudio, as well as the fantastic opportunity towitnessaprojectfromstarttofinish.

ProducingtheDesignGuidewasagreatexperience,which showed how much information is necessaryforbeginningaproject.Producingadocumenttobepassed on to a design team helpedme understandthe importance of clarity and coherence, so as tocreate something to enable a project to moveforward as smoothly as possible. The mostrewardingpartofthedesignguidewasworkingwiththeschoolandpupils.Projectsinarchitectureschoolmostly rely on fictional and hypothetical clients, sotoworkwith thosewhowilluse it showed that thecreationofaspaceshouldentirelybebasedaroundmaximisingtheenduserexperience.

One of the most interesting aspects of the projectwas being involved in the actual building of thePlayscape. The construction presented challengesandshowedhowdesignsmaysometimeshavetobeeditedduringassemblyduetounforeseenproblems.Projectsinuniversityremainonpaperorscalemodelandnevergetrealised,sotoseeaprojectyouwereinvolvedinrisefromnothingtoarealphysicalspaceissogratifying.”


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